Pina Bausch, so questioning about so much, often took an unambivalent delight in women’s hair. When her dancers let theirs down it sweeps away much of the angst from her work, replacing it with purring, silky pleasure. In Bamboo Blues, a succession of ravishingly gowned women stroke, swing and cradle their hair. They use it as a veil, a weeping wall, a cat-o’-nine-tails and, again and again, a seduction.

Greig Laidlaw can look at his arrival as the new ­Scotland No10 in one of two very different ways: either his chance to prove there are try-creating players north of the border or the selection means he now holds the poisoned chalice of rugby.